Yeah, the T-1000 had to touch a person to sample them, yet he's able to become an identical twin hospital guard just by being stepped on. I never knew how much genetic material was transferred through the rubber sole of a shoe...
Of course there wasn't as much CG in T2 as you might think. There were a good number of practical effects, miniatures, robotics, make-up and squibs... and little things like using twin actors (and actresess) whenever the T-1000 had to confront the person it had just morphed into face-to-face. A lot of clever stuff, and the CG work, while impressive and certainly groundbreaking, took more of credit than it deserved.
I'm with you on the Caterham, though I don't know if I'd go with the Superlight. For me, a Seven has to have the flared wings -- cycle wings don't cut it. So I'll stick with a De Dion or a Classic SE if I ever get the funds (and garage space) to build one.
Didn't I see something a year or two back about an ultra-fast version that used a motorcycle engine? (the name Butterfly comes to mind for some reason...)
Animatrix at 9:15 pm. Running time 90 minutes. Walk a block from the Egyptian to Grauman's Chinese Theater and catch up with your buddy who's been waiting in line for you. Plenty of time.
Wow. The things you learn. I've been out of the keyboard scene for a while now and didn't realize that E-Mu and Ensoniq had merged in 1999. Also didn't know that they were now owned by Creative. [cite] Creative is also an equal partner owner of THX now... makes me wonder what else they've been buying up.
But if somebody A) took pictures of a crime in progress and B) posted some of those pictures on a web site saying, "Hey, look at the pictures I took of a someone committing a crime!" then the police are within reason to subpoena the photos to aid their investigation. This has been held up in the courts in the case of traditional photography, and it's not much of a stretch to apply the same to people with digital cameras.
As to the matter of copyright, you would still hold copyright over those images (even if you never got them back). So they could not be published without crediting you, and depending on their use, you might be compensated. Copyright doesn't prevent something from being introduced into evidence in a court of law.
I like to believe that too, but I'm not sure. In addition to watching checkdiscs at work, I also get to see emulations, and for whatever reason, they're still apparent even when read off a hard drive.
Layer breaks on DVDs can still be put in stupid places. Often the placement is determined by the authoring house with no concern for its placement within the film, and the studio, even when told "hey, that's the middle of an action scene," won't make the authoring house change it even when it is technically feasible.
The difference is that more than one person could listen to the same album simultaneously. There would need to be a keyserver that only checked out one copy of the album for listening at a time.
I remember similar software that Kinko's used to have on their self-serve DTP machines... they might only own 4 copies of Photoshop, but had crippled copies installed on all their machines. On launch, a temporary key was given, as long as there were not already the maximum number of copies running.
I imagine some Pynchonesqe system involving guys in trench-coats exchanging plain wrapped packages on street corners... like a 2600 meeting, only classier. A network of "no, I don't have that book... but I know a guy who can get it for you..." etc.
Actually, no. On a screen you have projected light (RGB), and because the monitor is the light source, you have a smoother edge between similarly colored pixels. On paper, you're dealing with reflected light (CMYK) and pixels can be quite noticible up until around twice the halftone frequency. So if your halftone screen is fairly high, say 200 lpi, then you can get away with an image as low as 300 dpi, but really don't need anything higher than 500 dpi.
Slashdot Mirror
How about...
Lawnmower Man
Arcade
Brainscan
Brainstorm
Jumanji
Virtuosity
They probably fall into your meta category...
IIRC, which is pretty likely since I watched T2 again yesterday, John Conner says he's supposed to meet his dad "when I'm 45 or something".
Yeah, the T-1000 had to touch a person to sample them, yet he's able to become an identical twin hospital guard just by being stepped on. I never knew how much genetic material was transferred through the rubber sole of a shoe...
I'd be happy to see Hitchhiker's Guide or The Stainless Steel Rat on film. I know there are scripts for both... Or how about Zucker Abrhams Zucker doing Bill, the Galactic Hero
Dyslexia must be kicking in. Logan's Run was 1976.
I seem to recall the wet t-shirt moment in Spiderman had two points. For the life of me, I can't remember what they were though...
Of course there wasn't as much CG in T2 as you might think. There were a good number of practical effects, miniatures, robotics, make-up and squibs... and little things like using twin actors (and actresess) whenever the T-1000 had to confront the person it had just morphed into face-to-face. A lot of clever stuff, and the CG work, while impressive and certainly groundbreaking, took more of credit than it deserved.
I'm with you on the Caterham, though I don't know if I'd go with the Superlight. For me, a Seven has to have the flared wings -- cycle wings don't cut it. So I'll stick with a De Dion or a Classic SE if I ever get the funds (and garage space) to build one.
Didn't I see something a year or two back about an ultra-fast version that used a motorcycle engine? (the name Butterfly comes to mind for some reason...)
Been done...
Animatrix at 9:15 pm. Running time 90 minutes. Walk a block from the Egyptian to Grauman's Chinese Theater and catch up with your buddy who's been waiting in line for you.
Plenty of time.
You, sir, have gone too far with the blanket term "Fiery Bird Motif". I hearby ask that you cease all further utterances.
If ANY single entity was eating up 45% of my bandwidth, yes, I'd bitch.
Wow. The things you learn. I've been out of the keyboard scene for a while now and didn't realize that E-Mu and Ensoniq had merged in 1999. Also didn't know that they were now owned by Creative. [cite] Creative is also an equal partner owner of THX now... makes me wonder what else they've been buying up.
But if somebody A) took pictures of a crime in progress and B) posted some of those pictures on a web site saying, "Hey, look at the pictures I took of a someone committing a crime!" then the police are within reason to subpoena the photos to aid their investigation. This has been held up in the courts in the case of traditional photography, and it's not much of a stretch to apply the same to people with digital cameras.
As to the matter of copyright, you would still hold copyright over those images (even if you never got them back). So they could not be published without crediting you, and depending on their use, you might be compensated. Copyright doesn't prevent something from being introduced into evidence in a court of law.
I like to believe that too, but I'm not sure. In addition to watching checkdiscs at work, I also get to see emulations, and for whatever reason, they're still apparent even when read off a hard drive.
The Santa Monica office for Artisan Entertainment, who own the T2 distribution rights, happens to be in the same building as Microsoft's L.A. office.
How much you wanna bet the deal was made in the elevator one day?
Layer breaks on DVDs can still be put in stupid places. Often the placement is determined by the authoring house with no concern for its placement within the film, and the studio, even when told "hey, that's the middle of an action scene," won't make the authoring house change it even when it is technically feasible.
Alas, the free ProTools isn't the OS X native version... back to CubaseSX
That's kinda annoying...
No, it's clearing out old inventory and getting a tax break for making a donation to a school. Just smart business...
What's to ponder? Faster, Stronger, Little, Yellow, Different, Better. Oh wait, that's Bionic Nuprin...
Talking Moose. That's what it's all about.
If you're on the road a lot, you'll probably want to get a Musician's Valet...
The difference is that more than one person could listen to the same album simultaneously. There would need to be a keyserver that only checked out one copy of the album for listening at a time.
I remember similar software that Kinko's used to have on their self-serve DTP machines... they might only own 4 copies of Photoshop, but had crippled copies installed on all their machines. On launch, a temporary key was given, as long as there were not already the maximum number of copies running.
I imagine some Pynchonesqe system involving guys in trench-coats exchanging plain wrapped packages on street corners... like a 2600 meeting, only classier. A network of "no, I don't have that book... but I know a guy who can get it for you..." etc.
Actually, no. On a screen you have projected light (RGB), and because the monitor is the light source, you have a smoother edge between similarly colored pixels. On paper, you're dealing with reflected light (CMYK) and pixels can be quite noticible up until around twice the halftone frequency. So if your halftone screen is fairly high, say 200 lpi, then you can get away with an image as low as 300 dpi, but really don't need anything higher than 500 dpi.